Out of Pasadena, CA, the Squires have a wonderful history of fine vocal group records. Dewey Terry of Don And Dewey was a member of the group. Sindy was originally released on Lawrence H. Mead's Mambo label. It sold extremely well in the Los Angeles area, but the problem they faced was the name of the label. Buyers associated it with Latin or dance music. The label name was scrapped after just a few releases, and his Vita label was reactivated from earlier Los Angeles based production. Thus several records including this one was issued first on Mambo, then Vita. In this case, most of the copies of Sindy by the Squires, sold on Mambo. When the Vita label was issued, it was near the end of the record's run. As an odd addition, some of the Mambo label records actually used a "C" for Cindy instead of S (Sindy).
From Asbury Park, New Jersey, the V Eights had the legendary singer Bobby Thomas on all but their first recording. The group lasted for about a year and a half and made four records that I know of. Their first was on Morty Craft's Most record label. Then they had three issues on the local Vibro label, the first shown above, was "My Heart." It was released on Vibro, and then as a promo and stock issue for ABC Paramount for a try at national recognition. After making some local noise, they released "Everything That You Said" and one other, but despite the quality, did not sell, or get picked up by ABC like "My Heart" did.
Dart Ward and the Cut Ups released this record, QT Cute, in 1958, on the RIP label out of Hollywood, California. It appears more than 75 records were issued on RIP, and at one time, the president of the label was Dick Puccio. Major label Dot records saw potential in this uptempo mover, and released it in September of 1958.
Although it's the B side, I always thought it was interesting to name a song after your group. Freeway is the flip and got the most spins, though only from the local charts. Both labels were based in Hollywood, but the Sims label was first. Richard Vaughn's Arvee label had several hits from the Olympics, later on, the Marathons, and others. The Sims label would later have the Wallace Brothers, Hal Willis, and others in the 60's.
On Your Mark, Get Set, Now Ready, Ready, Gooooo! Complete with Lifeguard whistles, bells and commands for everybody to get out of the pool, this quasi instrumental was a fun novelty tune from 1959. Though not a Billboard charter, it certainly got the regional action - just enough to have ABC pick it up from the tiny Casa Blanca label. One Frank Pingatore was obviously involved with the production and had the writing credits.
You may remember the original version of Cherry Pie from Marvin and Johnny. Released in 1954, it was actually the flip of Tick Tock, but ended up getting more exposure when it appeared on a million compilation albums, starting in the early 60's. After that one, but before Skip and Flip's top 100 record, the Tri-Lads had their own version come out in late 1957/early 1958. Though little documentation exists, it came out on a small label out of Tulsa Oklahoma called Perspective. Other vocal groups on the label included the Accents and the Vibes. Bullseye picked it up for better distribution, and it did get quite a bit of airplay in many markets.
From the best I can tell, the Pixies were from the Washington DC area. They had this record called, Cry Like A Baby. It was released initially on the AMC label in 1962, and then it showed up on the Philadelphia based Don Dee moniker after that. Neither label was very big. AMC just had three releases I know of, and Don Dee just about twice that amount. The Pixes are shown as also having one additional release on AMC, but it does not show up in the Don Dee label listing. Also, the Don Dee label can be found on a black label. Further, the Pixies Three were originally slated to use the Pixies name, until they found out about this group on a obligatory name search before they had their first hit recording.
The Velvetones, featuring J.R. Baily, recorded several discs for the Aladdin label. The Glory Of Love, though not a new song, it was certainly a unique interpretation. The talking bridge was quite a bit longer than your normal bridge, and included the line "Fine Fine Super Fine Career." That always stood out for me! It was issued in 1958, on Aladdin, and was then re-issued in 1962 on Imperial 5878 - shown above.
The Velvetones record did sell in certain markets. Shown to the right is the third issue, the second for Imperial, using number 66020 and released in 1964. And the bridge:
I hold in my hand, dear, three letters
Three letters from the stage of your fine, fine, super-fine career
The first began "Eddie, darling, sweetheart, my wonderful one,
I will always be grateful for the things that you've done"
The second letter came right after I gave you your start
Yes, it came from your pen, dear, but not from your heart
The third became the joker of the deck
You ended your letter enclosed "please sign my cheque"
Why you fool! You poor, sad, worthless, foolish fool
If you think that money can pay me
For the hard years I've suffered till things broke your way
Yes, I'm answering your last letter that says we must part
I'm tearing it to pieces the way you tore up my heart
I smile when you kiss me and I thrill at your touch
My only sin was, I love you much too much
Out of Cincinnati, Ohio, the Charms can be traced back to 1952, and their first recording was in 1953. It was on the Florida based Rockin' label, which was part of the King roster of monikers. The disc started to sell, and King issued on their "new" Deluxe label. So, it was not exactly new, as they had bought the already established label which was originally based in New Jersey. "Heaven Only Knows" was their first record as they started the "new" 6000 series of Deluxe.
Here is an odd one. Lafayette and the LaSabres had a doo wopish, almost country-twangish song called "Cure For Love", backed with an instrumental. The artist is Lafayette Yarbrough, who had at least one other record, maybe more. I have very little information the the Your-Pick label, and am still confirming it was a first label. It is possible there were several issues earlier on Your-Pick which is based on the record number of 1005. It does not appear to be a reissue label, and a few different books confirm it as a first label. Port had some original recordings but quite a few artists/songs that had been on other labels.
Here are the Gallahads. OK, one of the Gallahads groups. The Jimmy Pipkin Gallahads group was not in Los Angeles at the time, and due to circumstances that would at least be a chapter in a book, another group was drafted to be the Gallahads. They were the Chants out of San Pedro. They recorded just two records as the Gallahads, and this one was first issued on the Beech Wood label. Sad Girl was the "A" side, and it was quickly picked up by Los Angeles DJ Art Laboe for his Starla label. The Pipkin led Gallahads then got on the charts with I'm Without A Girlfriend, for the Donna/Delfi labels, after the "Other" Gallahads record was through.
Luther Bond and the Emeralds recorded some great group harmony in their time. The group was from the Cincinnati Ohio area. They actually recorded two records on the showboat label, "Gold Will Never Do" was the first of them. Sadly, it was nearly the end of their releases as a group. Somehow, the group was introduced to Ray Scriveners Nashville, TN label called Showboat. It could have been through Ohio based record company owner John Finch. Interestingly enough, the Briar International label was also based in Tennessee, and it was owned by Paul Cohen. My belief is that the Showboat label came first. On the flip of the Briar label is "Should I Love You" which was recorded in the studio in early 1960. It is believed that Gold Will Never Do on Showboat was released in 1959 and it included Jitterbug Jamboree as the flip. There are not many references to the Briar International label, except a few bluegrass issues.
Though not a huge hit by any means, this record had some good play in some regions. Who was Roy Tan? I am unable to find any definitive information on that. Why the name, and was it real? Maybe. But could it be associated or have been influenced by the Roi Tan cigars? What seems most reasonable is that he made the record, he was unable to get a record company to release it, so he created his own label, Tan records. It started to sell (what regions?) and Dot decided to distribute it nationally. Isabella is a great uptempo record. Written by Johnnie Getz who also co-wrote Wobble Lou with, and for Ray Agee. Also note that Isabella is listed as the "B" side for the Tan release.
Out of Philadelphia, Buddy Caldwell's V-tone records issued Little Jimmy Rivers and the Tops' "Puppy Love" in winter of 1959. The original V-Tone first press listed just the "Tops", with no Jimmy Rivers. The above 2nd Vtone press credits Little Jimmy with the Tops, and this can probably also be found with Philadelphia listed under the V-Tone banner. The song actually garnered a lot of airplay on the east coast, and was soon issued on Caldwell's Len label, likely early 1961. .
Continuing on with Little Jimmy Rivers And The Tops, the first Len issue was on the yellow label previously, and then was pressed with the orange label shown above. In 1961, Swan issued the record to distribute it outside the east coast, also shown above. A great record that should have sold more copies.
Here are the Silva-tones featuring Bob Silva. It landed briefly on the Billboard charts for just two weeks, with a peak position of #86. It appeared in December 1957, and was released nationally on Argo, first with the ship label as above, and then with the black label with Argo down the left side. On that issue, you will find the slight title change of "Chi Wa Wa (That's All I Want From You)." Originally released on the Monarch 615 as Bob Silva and the Silva Tones with "Weepin And Awailin" on the flip, it seems it was also issued after the success on the Argo label, by Monarch. Interestingly enough Monarch shows the same record number of 5281 from Argo, which I believe was the last Argo "ship" label.
Linda Brannon made some noise with this record "Just Another Lie." It was a territorial best seller in the gulf area, and started selling. Ram was a small label out of Shreveport, LA, and at the time of this release had a distribution deal with Ace, to help get records out to the public. Chess picked it up, but it never did become a big hit. James Burton happened to be part of Linda Brannon's group, and there are cool pictures showing him playing beside her, possibly at the Louisiana Hayride.
I can't say I am an expert on this record, but it is not Larry, Moe And Curly! The original was on Spinett, and then picked up by Epic. My Epic promo copy has the group name crossed out and then stamped underneath. This record appears to include Doctor John. Released in 1960.
I love the song "Cherry Pie." I didn't think I would enjoy a 1965 version of it, until I heard this one. The original was on the small Cherry label, likely owned by Charles Christy. It was picked up by HBR, but missed the Billboard charts. It did not miss the charts on KACY Oxnard, KOMA Oklahoma City, or KFJZ In Fort Worth Texas.
The Four Imperials were responsible for several records, including a Christmas favorite "Santa's Got A Coupe De Ville." In this instance, "Lazy Bonnie" was issued on the Detroit based Lorelei records, before being leased to Dot Records. The Dot issue credits the Hank Luke Quintet.
A classic group record from the States record label out of Chicago. "Chop Chop Boom" rose to number ten on the R+B charts for States in 1955. Also shown is the second label B+F records, also out of Chicago and having the same owners as States, and also a label that seems to have reissued a lot of their own material.
The Egyptian combo was a group from Southern Illinois whose biggest hit was "Gale Winds" in 1964. This Huff single predated it, and was released in 1963. Based on my research, the Norman release was from 1965, after the "Gale Winds" issue. The group cut quite a few records and still are playing today
This was a Holiday record by Frank And Jack that used sound effects and celebrity voices. Released in fall of 1957, the first issue was on Bergen from the town of Little Ferry, NJ, and then on to Josie for a bit better distribution. Bergen was associated with the Eddie's label. "Twas The Night Before Christmas (Breaking The Sound Barrier) was a goofy record, and does not show up on too many playlists any more.
Harold Dorman was best know for his big hit "Mountain Of Love." This was a subsequent issue called "Moved To Kansas City." I can hear a little of "Mountain Of Love" in the record, but no relation and not an answer to the Wilbert Harrison song called "Kansas City." Issued in 1960.
I don't know a lot about Connie and Lee, but I do know they appeared on American Bandstand, July 3rd, 1958. Frankie Sardo was also a guest on that weeks show. Perhaps that is how a record issued on the small Look label ended up with a major player in the day, Gone records. Exposure on American Bandstand could do wonders for your career. In this particular case, the record had minor sales, but enough to be issued on the Canadian Reo label.
Sometimes a text change got you a name change. Rickie vs. Ricky in this case. Shown in a September 1961 Dot records ad in Billboard, the record was an answer to the G-Clefs record. The flip, "Every Time You're Mine" had some action in Hong Kong. She had a great sound and this was just of several records she recorded, including at least one other answer record.
The great girl group sounds of the Gee Sisters. The record was first issued on Palette around August of 1962, then a record deal was struck with Hickory a couple months later. Notice the title has changed a little from Palette to Hickory. "Telstar (Help Me)" to "(Help Me) Telstar." This disc was also released in Australia on their Festival label. The Gee sisters were Barbara and Annette Gross from Forest Hills, NY.
This is an interesting record. Ward Darby and the raves is the artist. Also known as Willie Ward, he recorded several records, and a few of them fro Pittsburgh labels. He originally was singing country, but got away from that on this release. On the Petite release (subsidiary of Fee Bee) there is a notation of a vocal chant by the Tribesmen, which is omitted on the Dot issue. Also interesting is on one version of the Petite issue, there really is a vocal chant, and then it goes into the funky intro, and the other version starts at the intro, however, both labels credit the vocal chant. Dot picked it up since it actually started selling well in certain regions.
Dore Alpert is actually Herb Alpert in an earlier career for him. "Fallout Shelter" is about a lovesick teen locking himself into a fallout shelter to escape reality and his former girlfriend. First issued on Carnival, and best I can tell it continued to be pressed in California on that label, but Dot distributed it outside California. Alpert shares half the writing credits. This side was included on a CD compilation called Atomic Platters.
From Alabama, the Webs had a funny song called "Lost (Cricket In My Ear)." OK, so more of an instrumental with character voices breaking in and complete with some sound effects. They even have a reference to the hit "Foot Stompin." Part of the group (Frog Voice) and garnering half the writers credits was Bobby Goldsboro. Heart records put it out first, then the Lite label issued it with some distribution from Seg-way. Issued in 1962.
Dottie Fergerson appears to have had a short recording career. On the Kentucky based Kernal records, she was backed by the Five Stars on "Slow Burn." It must have started selling in a couple of regions, as Mercury picked it up, and they were a huge record company at that time. Oddly enough, Mercury dropped any mention of the Five Stars and gave all the attention to Dottie Fergerson. This was issued in 1957.
Another Christmas song, this time featuring Barry And The Highlights. "Xmas Bell Rock" is one I have featured many times on my radio show, first saw the light of day on the Baye label from Baltimore, Maryland. There was just a handful of releases on Baye, and they must have concocted a deal with Airmaster out of Philadelphia, to try and sell a few more discs. Perhaps it was making noise in Philly and they decided to get some local distribution, as Airmaster was very small, too. 1960.
The G notes were a fairly typical girl group, though they sounded very young. The reason for that is because they were. Aged nine and eleven, Nancy and Linda Giampapa were the G Notes. It was the very first release for the then new Jackpot label out of Hollywood. But, Jackpot acquired the sides from Tender records, another small label from Hollywood, that also had the first issue of the Shields record, "You Cheated." "Ronnie" was the slow side, the flip, "Johnny Johnny Johnny" was very uptempo with a great organ throughout. Released in 1958
Cruising over to Kentucky, the Monarchs were a group that were very popular in the Louisville area. Their first record was from 1962, and this was their second disc. Released in January 1963, it hit the local charts on the Jam label, as well as others in Detroit, Arizona, and Springfield, MA. Sound Stage Seven picked it up, and the Monarchs were then regionally known for their talent and great music.
First released on the Hawk label in 1960, Lin Taylor and the Peachettes did the standard "The Bells Of St. Mary's." This Hawk label was from New York, and shows as the first record for the company. The record was then issued on Clock records, later in 1960, and the name change from Lin to Lynn Taylor was made. Clock records had Dave Baby Cortez on their roster, so they had some experience with success. Australia's Pye label jumped on this one, too. Flip was "Sweet Little Girl" which was a nice mid-tempo record, with a real groove.
Label number three was Black Hawk, from Jamaica New York. Issued in 1965, five years after the initial Hawk release, the promo copy is shown above. I suspect the labels were related, and for this issue, they pressed a different flip. The Rivileers standard of "A Thousand Stars" was the "B" side, and it sounds like just the Peachettes singing. If Lynn Taylor is on the record, I can't hear him.
The Sonics were from New Jersey, and had some great doo wop sides. "Triangle Love" is more of an uptempo rock and roll song. This is a tough pairing to figure out. One possible scenario is that it was released on RKO Unique in 1957, and then issued again in 1959 on Nocturne. I have seen a Nocturne 78, which would put it late in the game at 1959, but it shows distribution by RKO. Nocturne was the smaller label, based out of New Rochelle, NY.
A great instrumental, "The Dribble Twist" by the Raging Storms, who were from Detroit. Since Warwick became Trans Atlas, the Warwick release was likely first. It was released in very late 1961, and both issues could have almost been simultaneous in nature. These labels were owned by Morty Craft.
When I think of the Memphis based XL label, I think Of Sam The Sham and the first issue of Wooley Bully. This is Beti Webb with a first issue on XL called "I Know (You Can Be Happy)." Released in 1966, MGM saw the potential and distributed it with a different flipside. Whenever that happens, it usually means they needed a weaker B side so the DJ's didn't flip the record.
Ray Johnson made some amazing records, especially earlier in his career. Both sides of this one were written by him. This happens to be a single artist vocal. The original was on the Goad label out of Los Angeles, and my discography shows four releases for Goad, all by Ray Johnson. It has a great beat, Imperial records agreed, and they picked it up for distribution.
With a song written and originally recorded by Little Willie Littlefield, Clyde Stacy recorded "Baby Shame" for the Chicago based G&H records. They say it had more action in Canada then in the states, and was one of several follow up records to his first recording "So Young." "Baby Shame"was then issued on Woody Hinderling's Bullseye label, to try and get some additional action. Bullseye was based in New York, but when you look at the discography, you find a lot of Pittsburgh area artists were used. Clyde Stacy had his roots in Texas and Oklahoma.
I happen to prefer the flip side , shown, on this record by the Admiral Tones called Rocksville USA." Originally issued on the Philadelphia based Future records, it was given three stars in Billboard magazine on their March 30th, 1959 edition. But, by the time Billboard reviewed it, the disc had already made the change to Felsted and was on it's way to regional success. Future records was also home to the Philharmonics, the Del Rays, The Furness Brothers, and even Vic Fontaine with a group. Oh, and the flip on this record? It's "Hey Hey Pretty Baby."
There are a ton of records by groups that call themselves the Accents. This is technically Sandi (Rouse) and the Accents. Commerce was the first label for this song. They had about a dozen releases and were from the Los Angeles area. This group appears to be from San Diego, and this is a great ballad. Challenge must have either bought or leased it from Commerce, and credit is given to Commerce on the Challenge label.
Rollee McGill and the Rhythm Rockers had a record on Piney records, owned by Herman "Piney" Gillespie. It was based in Philadelphia, and they probably cut the disc at the Reco-Art studios on Market St. in Philadelphia. McGill was the sax player, and he went on to play sax on the silhouettes "Get A Job." The record started making noise, not only in Philly, but also Chicago, New York and Los Angeles. Mercury hopped aboard that train and started distributing the record, and quickly put a big ad in Billboard, in the March 26th, 1955 edition.
From Wilmington, North Carolina, Billy Bland sold a lot of records in his day. "Let The Little Girl Dance" was his biggest hit, but he started off his recording career on Old Town in 1956 with "Chicken In The Basket." It had regional success, and Old Town started pumping records out from Billy Bland. An odd release from Tip Top in 1958, constitutes my second label on this pairing. Tip Top does give label credit to Old Town by way of the required publishing.
A Classic Los Angeles record from Johnny Otis' Dig label. Julie Stevens along with the Dig vocal group, the Premiers, scored a local hit with "Blue Mood." The record was issued - and in this case partied to death - in 1956. The Eldo release is four years later in 1960. Eldo had the Safaris (Image Of A Girl) on their label, as well as the Ding Dongs, Ron Holden, and even a cut by the Penguins. The Eldo label was owned by Johnny Otis.
I first found this record while compiling my Jackpot label discography. Once I looked at this record really hard, I realized it was first issued on the Jay Scott Label. Lenny Young And The Jay Birds recorded this doo wopish record in 1958. It turned out to be another acquisition for Jackpot, as they picked it up for distribution. Now I never thought Jackpot had amazing distribution capabilities themselves, but they certainly had more money behind them in case they had a huge hit.
This is an instrumental featuring Doc Bagby and his organ. Doc Bagby was the composer of "Rock The Joint" and a huge in demand session man. And, he made a lot of records with his name on them. "Muscle Tough" sounds like a Traditional Jewish Wedding song, but I could be way off on that. Taking a page from the Quin-Tones discography, the original was on Red Top and then the bigger label, Hunt, got a hold of it for distribution.
Originally released on the Philadelphia based Grand label, "Blues In The Closet" was a great instrumental featuring a variety if instruments including a flute and organ. It's a very cool instrumental and obviously made some local noise. Staying in Philly, Jamie was selected to distribute it. They had a lot of good selling records and were in a better position to handle the disc if it broke out big.
"There Was A Fungus Among Us", static in the attic, and a whole host of other things. Certainly a catch phrase in some locales in the 1950's, this was the original version of the song, written by the artist, Terry Noland. Released on Brunswick first in 1959, and then again in 1961 on Coral, a subsidiary of Decca. The reason it was re-released had to be because Hugh Barrett and the Victors
made their recording of the song in 1961, so Coral was trying to get some additional action from the record. This was Terry Noland's sixth single, and he also issued an LP comprising many of his singles.
Jam records from Kentucky formed in 1962, and with that, issued their first record shown above. The Tren-Dells "Nite Owl" was not the Tony Allen song, but totally different and completely uptempo. Jam released about 15 records, and most stayed local. The previously shown Monarchs record on this page and this one, both made real attempts to break out. It didn't get too much bigger than Capitol records for the Tren-Dells second label, and they must have really seen the potential in this one.
Delores Gibson is a tough lady to come up with accurate info on. It appears two records on King belong to her, and then there are these two. Ultrasonic should be the first issue, and it is available on gold vinyl. The second label, Elloma, shows being distributed by Warner Brothers, so would seem to be a second label for the record. "I Got A Feeling" is a good record. I have seen a date listed as 1960, so that may be correct.
Three different labels, two different artists shown, same song. And actually, the same artist. Lugee And The Lions was fronted by Lou Christie, and was on the Pittsburgh based Robbee records. There were a bunch of good records on the label, and this was one of them - a local hit in Pittsburgh for sure. Then it was issued again on the World label, also from Pittsburgh. This time it just credits Lou Christie, and it removes the very first part of the record with the gavel dropping down in several strokes.
The third label you can find this recording on is American Music Makers. It was released in 1967, and used the same shortened intro without the gavel dropping. The address is slightly changed from the World release, but all three labels are from Pittsburgh. AMM released fifteen or so records starting in 1966, though none appeared to be hits. The label ran an add in the November 1965 issue of Billboard looking for talent with the bold headline of "Attention United Kingdom And United States Producers." Shown above are both sides of the AMM label release.
Edsel records was from Hollywood California, and had the first issue of the Pre-Historics vocal version of "Oh Blues." Released in 1960, Edsel may not have been a bad name for a label. At the time anyway. The two labels listed were actually related and had Bob Keene involvement. Based on the record number, the Delfi record was issued in 1961, making it the second label.
Doc Starks and the Night Riders were a great group that formed in 1954. You could find all different kinds of spelling on their name, but one thing for sure, they had a great sound. And they were already seasoned professionals when they started out. They had some great regional play on a song called "Apple Cider", but on this one "Night Ridin", they had interest from Capitol records, a huge name in music at that time. It was a great instrumental recorded first for the Philadelphia based Sound records, before the involvement with Capitol. This was released in 1955.
"Baby I'm Sorry" backed with "If You Can't Rock Me" was a nice two sider for the Strikes. Recording first on the Gainesville, Texas Lin label, it was picked up by Imperial records for national distribution. The Strikes we friends at North Texas State University, with Willie Jacobs on lead vocals. You can see that the Lin label credits the Three Pelves, and Imperial decided it was nit necessary. Release late 1956/earl 1957. Both songs were later covered by Ricky Nelson.
The Bruce Johnston disc above was first released as the Surf Stompers as the artist, then as above, and again as "The Original Surfer Stomp" as the title. This is more about the labels, and Donna was the original label for the record. I know very little about Ronda records. I do know they issued another Los Angeles area record by the Candlettes, and it may have been the same group from Vita records, though there are two different spellings of the groups name. The Ronda label references the Donna master (DF-1261-414), so must be a vintage second label. Makes sense that it would have been issued after the Surf Stompers issue and before the "Original Surfer Stomp" issue.
Released in late 1962 on Van records, "(It's A) Stick Shift" was not the same instrumental as the Duals record of "Stick Shift." It was however the first recording for the Raiders on Charles Van Meter and Lonny Roberts Van label from Texas. There were three additional 45's released on Van plus an EP, and interestingly, the label released several other records including a few by the owners of the label. Vee Jay saw potential in the disc and issued it in early 1963, and left off "It's A" from the title.
In 1956, Robin Robinson recorded "I Promise You" on Buck Ram's Antler records. Pressed on 45, shown above, it could also be found on a 78. It was a pop ballad, also written by Buck Ram. The disc made enough noise that in April of 1957, Atlantic purchased it from Buck Ram and released it. Robinson had just one other record that I can find, "More Than Everything" recorded for Poplar records in 1958.
The Sam Lazar Trio was from the St. Louis area, where Cawthron records was based. If you have heard the record, it is Sam Lazar himself on the organ. It's a really hot jazz instrumental, that made some noise in several regions. Shown above is the second of at least three issues, the first did not have the mention of Bingo distributing. The release on Cawthron originally would have been released in 1959, and the above copy, probably 1960. It had parts one and two of "Space Flight" on it. The Argo issue just had part one, and was not labeled as such, and had a different flip. The Cawthron disc can be found on blue and regular black wax.
Gary Paxton, besides a talented singer, arranger of groups, and writer, also produced and had this short lived label called Paxley. Besides his group the Hollywood Argyles, you could also find the Fascinations, Joe Lover And Johnny Stallings on Paxton. There must have been just enough interest in the song for them to make a deal with Gardena records, owned by Johnny Guss. The Gardena label was riding high with Paul Revere and the Raiders "Like Long Hair", and in fact, Johnny Angel's "Baby,You've Got Soul" was the next numbered record in line. If you were listening to KWYK in New Mexico, they had both sides on their February charts. They must have been an early adopter, as they listed it on Paxton.
From Los Angeles, the Turks were a great sounding group with a lot of history. They recorded several records, and backed up a bunch of other artists including Wynona Carr, Eugene Church, and Johnny Guitar Watson. "I'm A Fool" was recorded for John Dolphin's Money label. He also had Recorded in Hollywood, and Cash - which the Turks would also record on. This one was rated good by the trades, and was issued in early 1956. The exact same recording showed up in 1958 on the Knight label, which was a subsidiary of Imperial records, who purchased it. It was also released in 1959 on Imperial.
The legendary Dale Hawkins from Goldmine LA. He had a great song called Class Cutter, with later versions adding the Yeah Yeah in the title - see my first and second titles page
for this example. On "Class Cutter", some copies were mistakenly pressed on Chess. It had the same Checker number, which was considerably different than the current Chess numbers at the time. I had always thought the Chess issue was a boot, but I don't think so. Both the Chess and Checker issues have the 45-9225 etched in the dead wax, along with the Sheldon stamp. The Checker 45's additionally have the delta date code.
When you think of first and second pressings for Robin Luke, your first thought might be "Susie Darlin"from 1958. Your second thought should be "Chicka Chicka Honey", the follow-up recording, also from 1958. Dot leased it from Bertram International, as they did on a couple of additional follow up records by Robin Luke. This one had play in Hawaii, the west coast and even Ottawa Canada, on CFRA. The Jolly Drifters, AKA the Royal Drifters, had backing credit on this disc.
Power records didn't issue that many records, but what discs they did cut, were good ones. Most notably was the original "Short Shorts" which can be seen on my companion page of first and second labels - the hits
. Eddie Robbins didn't do much recording, but the records he did make were great quality. "A Girl Like You" is a nice mid tempo kiddie lead from late 1957, with a nice group backing. Once it started making enough local noise, Dot records got interested enough to issue it in early 1958. The flip "Dear Parents" is a fine ballad.
Jimmy Ellis and the Exceptions started out as the Cordells on the Bargain label with "Every Beat Of My Heart." They then recorded as the Whirlwinds, before renaming themselves again and calling themselves the Exceptions. "Down By The Ocean" was a big Philadelphia hit, released on Pro Records locally, before being picked up and distributed by another Philadelphia label, Cameo. It's a great group record with a lot going on for all 2:05.
When I think of Jackie Carbone, I automatically place his music in Detroit. "Sugar Eyes" was just one of his records, another favorite is "Jam Up" on the Star X label. The initial issue of "Sugar Eyes" was in June 1958 on Fox, a label owned by George Braxton, and had some great recordings. I am fairly confident the Ciro's release is the second issue, but unsure of the date. It would have to be between June 1958 and May of 1959. The May 1959 date is when another release of "Sugar Eyes" was released on MGM (12801). I have seen pictures of the MGM disc, and it references Ciro's publishing, which leads me to the previous conclusion. What is unknown for sure is if the MGM disc has the same take as Fox and Ciro's.
There were several groups called the Humdingers, including the Teen Queens on MJC
, the group on Dale records, and this one pictured above. The Humdingers on this release were lead by Larry Bright of "Mojo Workout" fame,who also has the writing credits. The track is the same one titled "Street Machine" that was issued on the sister label to Donna, Delfi, on the Hollywood Drag LP by the Darts. No credit or mention of Larry Bright appears on the LP. The Jaye Joseph label was the first issue of the record above, and after making a little noise - including the intro to certain features on the radio like the news, it was pressed on Donna with limited success. The record was issued in 1963.
Whenever I see the Winley label, I always think of those great doo wop groups like the Jesters, Paragons and Collegians. Sometime just before the summer of 1959, Earl Knight and George Kelly teamed up for an instrumental with lots of shouting in the background. You can hear several pieces of other songs if you listen carefully. It's like they took some great instrumentals and "borrowed" from them. Winley from New York issued "Let The Good Times Roll Part One/Two" first, then ABC Paramount saw potential and pressed it. The first Billboard Ad I saw was from June of 1959 with ABC promoting it alongside the Lifeguards "Everybody Outta The Pool" which they had just recently picked up from the Casa Blanca label. The ad also mentioned it was available on Sparton of Canada.
The Ron-Dels were a group from Fort Worth Texas, and featured Delbert McClinton and Ron Kelly on lead vocals. Billboard Listed it as hot in Fort Worth in January of 1963, then in February, had it hot in Houston, along with big ads for the disc on the Shalimar label. I show it released on Major Bill Smiths' Le Cam label first and then on Shalimar, which was distributed by the Arlen label out of Philadelphia. I also see a 1969 re-release on Dot, as well as a release on Billie Fran. Billie Fran was also a Major Bill label, and I would date it as either 1965 or 1966.
From Los Angeles, the Shields had their biggest hit with "You Cheated." It was on the Billboard top 100 and competed with the original version by the Slades
on the Domino label
. Their follow-up was "I'm Sorry Now" (1959) and then they waxed "Play The Game Fair" from April 1959. It appears to have been released simultaneously on Tender and Dot, likely the Tender issues stayed on the west coast and Dot issues elsewhere. To make it a little more confusing, Billboard mentions it on Dot in May, and then reviews it on Tender in June.
One of the record labels that Imperial was constantly looking at was the Lin/Kliff outfit from Gainesville Texas. They found a couple records by the Strikes, one from the Mints/Ken Copeland, and this one from Bill Stubblefield. The April 1957 issue of Billboard magazine mentions one of the strikes records and the Bill Stubblefield disc above, for the Imperial label and had a huge promotional ad. "Blue Indian Summer" was not a big hit. It featured whistling throughout the record, and was the first of two for Imperial records in 1957. The second was "Whistlin' Rock 'N' Roll", which was not issued on Lin.
If you go back to 1955 in Steubenville Ohio, you would find the very beginning of the Stereos. You just have to be patient! They were originally called the Montereys until they found out there was another group with the name. They changed to the Hi-Fi's, and appeared locally and on their local TV station WSTV. Slow forward to early 1957, and they changed their name again, this time to the Buckeyes. At least that's what their new label decided to do - Deluxe records. After releasing two discs with no success, they needed another label. They found Gibraltar and recorded "Sweet Pea's In Love." They had a hit On Cub records "I Really Love You" and several others that did not chart. By 1967, the group had gone through numerous changes, and recorded the mostly instrumental "Stereo Freeze" parts one and two. The original was on Jerry Hyde's Hyde label from Wintersville Ohio. Chess records acquired rights to the recording and issued it on their subsidiary, Cadet, also in 1967.
The Monarchs had a regional seller in 1956 called "Pretty Little Girl." It had exceptional play in the Boston area, and was a great uptempo recording. Neil records and the Monarchs were from New York. The label issued seven recordings and two from the Monarchs (Always Be Faithful was the other). Melba, which was one of Morty Craft's labels, also released it in 1956, making it a second label. You can see the reference to Neil records, on the Melba label. I have no evidence showing Melba pressed the second Monarch's disc.
The Intervals recorded "Side Street" in 1958, and it was first reviewed i the October 2th edition of Billboard magazine, as a "Spotlight Winner Of The Week." "A Blusey Ballad sung with lots of heart by the group" is how Billboard described the new disc. The review was for the Apt label from New York, and the song had some regional airplay, especially at KOL in Seattle. It peaked at number ten on their survey on November 20th 1958. It was also hitbound sound on WIBG in Philadelphia. The first label was the purple Ad label with addresses in Hollywood and New York.
Johnny Mann and the Tornados had a blip on the charts and radios in 1958. "Breaker Of Dreams" originally was issued on the Donnie label and was a nice ballad. The flip, Chick A Lou, was a cool uptempo side. I don't see any reviews for the record from Billboard, but I did notice some spins on Boston radio station WHIL. Perhaps there were additional spins in the Philadelphia area, or East Coast, as Swan picked it up and was the second label for the song.
Shown as a breakout record in New York, "The Closer You Are" by the Magnificent Four was a totally different take on the song the Channels recorded in 1956. This uptempo version from 1961, complete with bass line hooks, didn't have time for an instrumental break in the middle. Just great doo wop with a lot going on. The New York based Whale was the first issue for the record and was shown first in the Billboard October 1961 issue. WABC gave it a ton of spins in New York, for a bonified local hit. Blast issued it again in 1963, coming off a local hit with the Excellents "Coney Island Baby."
A classic record from New Jersey, the Plurals singing "Miss Annie" is a just a great record. The Wanger release above is one of three or four different pressings and is a little later in that line. Early issues had Tino music shown. The 2nd label was Bergen, which was very similar in design and color
Alcar records, from Cincinnati OH, had a much bigger discography than Pelpal, and included notable artists like Lou Christie and Dale Wright. It was the first press on the disc and released around 1959, though neither sold much. Also from Cincinnati, OH, the Pelpal label had less than a dozen releases. This was the first one, and was from 1964. Ron Neat along with the Janet Shaw trio, recorded "Ronnie." Though I have other recordings by Janet Shay, I have none others by Ron Neat.
"She's Alright" was originally released by the Shooters on Trans-World in 1960. Looking at the label closely, it mentions "Featuring Otis" underneath the Shooters. That would be Otis Redding along with the Shooters! This is one of his early records and was first issued as the Shooters featuring Otis. In 1961, it was issued again on the Finer Arts label as Otis Redding and the Shooters. Though it's not a difficult record to find, it did not sell really well on either label.
This set of record labels is still a work in process. The labels are represented, though additional variations exist. Further, my order may be revised in the future, as I start with more theory than fact. Little Cindy had a decent selling Christmas record called "Happy Birthday Jesus", which consisted of a lot of talking by a young girl. My initial lineup for this recording, is to start with the Salem label. In my case it is blue, and importantly, has "He's Around When Everybody Turns You Down" by Little Cindy, on the flip. PRP-551 is shown on the label and etched in the dead wax. There must have been enough demand to press the record that they had to get assistance from Columbia as the ZTSP 81244 appears which is Columbia's letter prefix for their custom pressings. Columbia pressed the yellow Salem label records because Salem likely could not keep up with the demand.
The next label was Mart records, shown in the same city as Salem records - Salem VA. These were also custom pressings by Columbia, and also had the same flip side as the Salem issues. There are other colors and variations of Mart. Lastly, Columbia issued it on their own label, but changed to ZSP 45258. They also put "Blue Christmas" by the Willis Sisters on the flip.
Johnny Jenkins may not be a household name, but he should be on the list of artists that deserved way more credit then they ever received. Jenkins was originally from Macon Georgia, and his band the Pinetoppers, had a great sound. They recorded Love Twist in what looks to be early 1962, for the Tifco label. This label was owned by James Newton, and he along with Gus Grant, produced it. The flip is Pinetop, both instrumentals, and the record is really a great two sider. The second of three releases is on the Atlanta based Gerald label, which was owned by Joe Galkin. Galkin started the label in 1949 and recorded several gospel sides by the Echoes Of Zion, from 1949 to 1950. He made a deal with Modern records of Los Angeles, and does not appear to have issued any additional vinyl until this record in 1962. Oh, and Joe Galkin just happened to be the southern region promotional man for Atlantic records.....
I'm sure a whole lot of convincing took place to get Galkin's employer to issue this record on Atlantic. It must have worked, as the record was released in 1962. Local station WAKE in Atlanta had it at number 23 in March of 1962, and I'm sure there were other stations playing it. Above I show both sides of the Atlantic release.
The Solitaires were an amazing doo wop group. They had a rich vocal group sound and had their first record on Old Town in 1954. I should be saying that this was a huge 1957 hit record, but it wasn't. Sure it got airplay on some stations, and it was the original version of the song. The Diamonds covered it in 1958 and had a number 29 Billboard pop hit with it. Interestingly, both the Diamonds and the Solitaires versions charted on WJJD Chicago in 1958. The original record came out in 1957 on the Old Town label, and reissued on Argo in 1958, likely to compete again with the Diamonds version.
When you talk about Dickey Lee, usually superstar comes up in the conversation. Yes, he had pop, country, tragedy songs ("Patches" and "Laurie."), but he also had some straight ahead rock and roll, and perhaps rockabilly, not to mention he recorded for Sun. My favorite early record is this one, "Stay True Baby", for Tampa records in 1957. OK, so the hit side was the flip, "Dream Boy", but, you know. I love this side. Tampa was the first issue, and the label was from Los Angeles, later to be Hollywood. It was revived in 1962 for the Rendezvous label, also from Los Angeles. Maybe it was issued because Dickey Lee was hot in 1962 with "Patches" and other records. The same song and what sounds like the same take is on both records.
Carl Petress and the Unique Teens had a great two sided record in 1958. "Jeannie" got most of the play, but I love "At The Ball." WMGM 1050 in New York showed it on their last quarter of 1958 charts for a total of nine weeks. Other east coast stations also ran it up and down their surveys too. Ivy was the first issue, and the label was based in New York. It really had just a few records before folding up. Hanover, also based in New York, on the other hand, must have purchased this one from Ivy and issued it themselves. None of the other Ivy discs show up in the Hanover catalog. Hanover produced a sizable amount of records, and I always felt they produced "Fun" records that were enjoyable and covered many different styles.
Though you might not guess it from the label credits, this is one smooth doo wop record. Steve Gibson and the Original Red Caps were established and can easily be traced back to the early 1940's. Vocal as shown is by George Tinley, and the female voice that really sets the record off with that call and response effect, is likely Joan Proctor. Casa Blanca issued the first press 9/59 and Hunt picked it up 10/59. Casa Blanca may be best known for the original pressing of "Everybody Outta The Pool" by the Lifeguards in 1959. Hunt, which was distributed by ABC, were known for several hit records starting with the Quintones in 1958, and issued it as they already had the national distribution in place.
Baker Knight was an amazing songwriter, and just happened to record a bunch of records, too. He wrote songs for Ricky Nelson, Ray Peterson and Dean Martin. In the 1970's he was also writing for country artists. All that time, he continued to record singles. He never had a smash hit singing, but plenty of his compositions were extremely successful. The Payments were one of his groups, and he was featured on "Brand New Automobile". Originally on Kit, the same label name but does not look like the same label that "Bring My Cadillac Back" was released on, before Decca picked it up. This time, Landa tried to get some action on it, though they were not a very big label themselves. Located in Philadelphia, their total output was less than 40 records. Also of note, the flip, Cantina, was issued as by the Tronics on an earlier Landa disc. Pressed in 1962.
Sonny Knight may be from Maywood, Illinois, but I consider him to be all Los Angeles. He moved there in the early 1950's and instead of going after an academic career, he wandered over to music and song writing. His first recording was for Aladdin, and was a cool novelty called "But Officer" released in 1952, and then again on Aladdin in 1957. In 1958 Art Laboe issued Once In A While/School's Out on his Starla label. The Starla label was short lived and Laboe started the Original sound label that was much more successful. He issued this one again on his "New" Original Sound label, but still no action. Of note, at least the first four issues of the Original sound label were still called "Original Sound." Some references just call it "Original" records, but it clearly shows Original Sound on the label.
The Prodigals were originally from West Virginia, an all black eight piece self contained group that sang and played their own instruments. In 1957 they changed their name to the Chords, changed a few members, and became a racially mixed group, in a time that it was not very popular to do so. They ended up signing to the Falcon label of Chicago in late 1958, but had a problem with the current name. It was changed to the Prodigals, and they cut "Marsha" the uptempo side, and "Judy" the ballad. "Judy" sold regionally for the group, including Pittsburgh, Chicago and the Midwest. Falcon was a subsidiary of Vee Jay, and was created in 1957. Unfortunately there was another fairly big label in Texas already called Falcon, that most notably had Baldemar Huerta (Freddy Fender) on it's roster and was located in Mission Texas. This Falcon label above had issues 1000 through 1013 before they switched to the Abner label. The name Abner was created after VJ President, Ewart Abner. At least two records released on Falcon, were also carried over to Abner. The Prodigals disc, and Jerry Butler's classic "For Your Precious Love." Notice also that the Falcon 1011 is still shown at the bottom of the label of the Abner release above.
Oddly, in 1964, the record was re-released on Tollie, another subsidiary of Vee Jay. It was short a lived subsidiary, created in February 1964, and they closed their doors in May of 1965. In the August 15, 1964 issue of Billboard magazine, the Tollie issue was reviewed under "Spotlight Winners Of The Week: Rhythm And Blues." It never appeared again after that issue, and that was it. Tollie was most famous for releasing a few Beatles discs, and maybe the Halloween disc by Jimmy Cross!
"Mama Didn't Lie" was a huge seller for Jan Bradley. Prior to that, her first release on the formal label in 1962 had "Curfew Blues" on the flip of "We Girls." It's a fun upbeat record, and was actually issued on Formal 1014 and as shown 1015. It was later issued on Chess in 1964, a few releases after her big hit, which incidently was also pressed on Formal and the Chess.
I don't actively collect Don Ralke records, but having a large collection, you just have to know your possess records from him. He probably appeared or was credited on hundreds, maybe thousands of discs. This one caught my eye. When I saw he had "Space Flight" on the first issue of Ever Green records, I was intrigued. The second record for the label was Larry Hall with "Sandy". About as fast as it came out, it was moved to the Hot label, as Ever Green was showing being discontinued. This Ever Green issue has a delta date code of 29258. Issued possibly the first week of May 1959, it was the most interesting side. It has a picture of an alien, referred to as Mr, B Geebers from the planet Jubilee. It has a male voice alternating with a chipmunk sounding voice with a few interruptions of an otherwise instrumental recording. The flip is an instrumental crediting Ralke and the Rockin Rajahs, it has no alien and no Mr. B Geebers. The Space Age label looks like it was issued about a week later on delta 29334. No Alien, no Mr. B Geebers, but a similar green color. And, all those breaks in the record that had the alien, all now have just the male voice, calling out different cities in the USA. That is, until the end, when somebody's home address is mentioned. It just happens to be 2050 Westridge Rd. in Pacific Palisades CA (Brentwood). That home was built in 1959 coincidentally, and I just wonder who was the first owner of the house was? The flip was by a different artist, Gail Abbot, with a pop sound to it.
The Francettes originally were formed by Frances Gray from Jefferson High School in Los Angeles . Their first release was "Cradle Love" on Besche from 1963. Sounding a little like the Ikettes, their next release was on the Sleeper label, showing as a Wolfie production. The plug side was "He's So Sweet" backed with "I'm Leaving You." It was then released on the Wolfie label, also in 1963, which just happened to be home to the Perez Brothers, Baby Lloyd, and Billy Joe and the Chessmen. Stock copies are shown on each, and both can also be found on promotional labels.
The Castaleers were from Rhode Island. Several great artists hailed from that state including Gerry Granahan and the Videls. Their first incarnation was in 1952 and they called themselves the Parakeets. You know, another bird name group. They recorded three discs for the Felsted label before starting their own label, Planet. This was a different label than the Capris Planet label where the original "There's A Moon Out Tonight" was issued. The Planet issue originally was pressed in late 1960 with no record number on it, and what appears to be an "I" instead of an "L" in their name. The number 44 was added shortly after the first production run of records, staying with an often used practice of not starting with the number "1". It must have made it look like the label was already well established. Somehow, the Muff Brothers (The Producers and likely managers of the Castaleers) got Donna records interested in the record, and it was released in 1961 on their label from Los Angeles.
The Five Discs were a great group from the Bedford-Stuyvesant district of Brooklyn New York. They recorded a few demos at Bell Sound Studios in New York,and shopped them around. They ended up at a relatively new label called Emge, and decided on "I Remember" for their first record. Issued on Gene And Bob Schwartz's Emge label, it was a big hit on the East Coast, garnering a lot of play in Boston especially on WHIL 1430 AM. Because it was a small label, distribution was an issue, along with money of course. They leased it to VIK, which was a subsidiarity of RCA, and it promptly did nothing. And the label went broke. The Five Discs were zero for two on the record labels.
The Schwartz brothers were involved with the Laurie label, and had Dion And The Belmonts,who were getting most of their time. Rust was an affiliate of the new Laurie label, and it was the third label to release the record, this time in 1960. The first issue of Rust had the reference to Andie - which issued a dozen or so records before changing it's name to Rust - and was blue. Later Rust releases were multi-colored as shown above right.
The Storm Trio is not well documented. The members of the group are still unknown to me, but perhaps the writer on this, or others sides, might provide some clues. My guess is that they were either based in Chicago or Detroit. There was an earlier Theron label release from Chicago. It might be possible that this is Adele Storm- United Music Operators secretary - and a local lounge singer, along with a two person backup group. "Wonderful Lover" was issued about November 1957, and was reviewed in Billboard. The first issue was on Kieth records shown as from Boston, before being picked up by Jubilee. The first issues showed "Wonderful Lover" per the Kieth issue, later it was changed to "My Wonderful Lover." Coincidently, the flip side started as "Ma Ma Rock And Roll" and changed to "Mama Never Taught Me How To Rock & Roll."
Harry and the Croc-O-Dolls. I really don't know anything about Harry and the group, but for some reason, the Impacts recording of Croc O Doll comes to mind, in artist vs. title only. Anyway, this is a novelty song, song being used lightly since there is more talking than singing on the disc. It came out originally on what looks like an extremely low budget label called Exec Records. "Cheeta (Teach Me How To Do The Monkey)" was the plug side, and RCA had enough interest to add it to their label and distribute it nationally. Though a really fun record, it didn't seem to make an impact on radio stations or the record buying public.
The song "Sneakin Around" can be traced back to Rudy Render, recorded in 1949 for London records and written by Jessie Mae Robinson. Robbie Bradley played piano on these recordings and is specifically credited on the flipside of the Dot label record shown below. The vocal group the Lapels recorded it in 1960 on the Melker label, owned by Jessie Mae Robinson. The second pressings of the Melker recording showed distribution by the powerhouse Dot records near the bottom of the label, above right. Melker has at least four records to their credit, including two from the Lapels.
When issued on Dot, the familiar date shows at the bottom of 8-60, and credit to Melker records is shown below that. The flip, is "Sneaky Blues" and although mostly instrumental, the vocal group can be heard in the background at certain points of the record. A nice two sided record that had three star reviews in Billboard magazine in their September 5th 1960 edition. It was listed under the "Good Sales Potential" section and both sides were mentioned favorably.
Ray Johnson was from the New Orleans area, and his brother was Plas Johnson. They both ended up in California and were both in-demand session players. Ray Johnson was the session pianist on many stars records, including Ricky Nelson. Songs Ray Johnson had included "Yellow Mellow Hardtop", "Love A La Mode", "Gonna Roll Lucky Seven Tonight", and the list goes on and on. It would take all day to figure out and credit Ray Johnson with all the records he was involved with. This is just one of them, "Miss Marty." Released in late 1960, the first label was Goad. Goad records appears to have just had records by Ray Johnson on it. The disc must have made enough noise in Los Angeles, that Imperial picked it up for national release.
Original members of the Sharps from Los Angeles included Carl White, lead, Al Frazier ,baritone, Sonny Harris,baritone, and Rocky Wilson,bass. The first three had sung with the Lamplighters. Heck, those guys sang with a ton of groups in the Los Angeles area during their amazing careers. In late 1957 they got together and recorded a song penned by Mexican DJ Daddy-O Dan Reveles. They recorded it on his label called Tag records, done in Jake Porter's studio (Think Combo Records) and the first version of "Six Months,Three Weeks,Two Days And An Hour." The initial Tag label version had an opening falsetto note by Carl White that was full of distortion. Later pressings on Tag eliminated the opening by fading it in, as did the Chess label issues, both their promo and stock copies.
Really nice doo wop here! This is the V Classics and the smooth sounding "My Imagination." Not the Quotations song, it's a totally different piece. Shown above, the "Arc" and "A" labels were both related to each other. I have a theory, in spite of ARC showing a generic National distribution statement with Allied on it's label. I believe "Arc" was the first label. The record started getting some spins on ARC, it was issued on "A", the group name was changed from using the roman numeral "V" to the more normal "Five", and there was a distribution deal with Madison records for the "A" label. Billboard reviewed "My Imagination" on June 5, 1961, and it received four stars, which is impressive. Billboard did not hand those out often. It was shown in Billboard on the"A" label, but I don't see it listed in a subsequent Billboard issue. This did gets spins on KYA in San Francisco starting in June of 1961 when it debuted at number 58.
Though "Tarrantela Rock" may have been the intended "B" side, it was clearly the rock and roll sound that deserved to be the "A" side - which was a loungy "Somebody Loves Me." Fine records was based in Rochester New York, and issued well over 100 discs from the 1950's into the 1970's. Most of it is fairly obscure, and they covered all typed of music while they were at it. This disc was with the group listed as the Kings Men, another great record called "Let's Go Rock And Roll" called his group the Jackals. This was ordered by Fine records in December of 1957, thus a likely 1958 release, and made enough noise to be picked up by MGM for a national release.
The Craftys, undoubtedly named after label owner Morty Craft, who also seemed to share writing credits with Craftys member Arthur Crier, were also known as the Halos, and about a dozen other names. Their Song L-O-V-E was issued in 1961 and ended up on the bubbling under charts at position 104. Many times, label owners like Leo Rogers or in this case Morty Craft, would issue records on a one time label they would create to see if they gained any interest. I believe that happened with the Lois release above. A pop sounding group called the Candysticks was on the flip. Once official "interest" was detected, he put it on his already established 7 Arts label. And further, the next 7 Arts release was by the Halos (Nag) and was the same group as the Craftys. It did significantly better peaking on Billboard at number 25.
Updates: There you have it. So many records came out on a small label and then moved on the a national label when their record showed so much promise. In some cases, records went from one small label, to another that was not much bigger. The possibilities seem endless Keep checking back. As i find them, I will post for all to see.
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